Mike Bailey Oregon State University.
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1 Mike Bailey
2 Seminar Goals Provide a background for everything else you will see at SIGGRAPH 2014 Create a common understanding of computer graphics vocabulary Help appreciate the images you will see Get more from the Exhibition Provide pointers for further study
3 Mike Bailey Professor of Computer Science, Has worked at Sandia Labs, Purdue University, Megatek, San Diego Supercomputer Center (UC San Diego), and OSU Has taught over 5,500 students in his classes
4 Specific Topics The Graphics Process How to Attend SIGGRAPH Graphics Hardware Modeling Rendering Animation Finding More Information
5
6 You can t see it all, so Think Strategically -- Make a Plan, Make a Schedule, Set Priorities! Your time is valuable. In general, rank your top 3 things you want to see for each timeslot. Then, if one session is not as useful as you d thought it would be, quickly move to your next priority. Remember to give priority points to the things you can t re-live after it has happened!
7 OMG Where do I Start in the Exhibition?
8 Exhibition Strategy Look at the list of vendors in the Conference Locator Make a list of the ones you really must see and sort the list by booth number Booth numbers are XXYY, where XX is the Aisle # and YY is ( 1 / 5 )*the number of feet from the front For example, AMD = booth 1023, which is Aisle 10; 5*23 = 115 feet from the front Start at one end of the floor and work your way across
9 Sorted by name Sorted by booth number
10 Exhibition Strategy Ais sle 9 Ais sle 10 Ais sle 11
11
12 MC The Basic Pipeline WC EC EC CC Model Transform View Transform Per-vertex Lighting Projection Transform Homogeneous Division NDC Viewport Transform SC Framebuffer Raster Ops Fragment Processing, Texturing, Per-fragment Lighting SC Rasterization MC = Model Coordinates WC = World Coordinates EC = Eye Coordinates CC = Clip Coordinates NDC = Normalized Device Coordinates SC = Screen Coordinates
13 The Graphics Process Lighting Information 3D Geometric Rendering Image Models Storage and Display Texture 3D Information Animation Dfiiti Definition
14 The Graphics Process: Geometric Modeling 3D Scanning Interactive Geometric Modeling Model Libraries 3D Geometric Models Rendering Displacement Mapping Material Properties
15 The Graphics Process: 3D Animation Motion Design Motion Computation (physics) Motion Capture 3D Animation Definition Rendering Dynamic Deformations
16 The Graphics Process: Texturing Scanned Image Textures Procedural (computed) Textures Texture Information Rendering Painted Textures
17 The Graphics Process: Lighting Lighting Types (point, directional, spot) Light Positions Lighting Information Rendering Light Colors Light Intensities
18 The Graphics Process: Rendering 3D Geometric Models Lighting Information Rendering Image Storage and Display 3D Animation Definition Texture Information
19 The Graphics Process: Image Storage and Display Hardware Framebuffer Rendering Disk File Recording Editing
20 The Graphics Process; Summary Lighting Information 3D Geometric Rendering Image Models Storage and Display 3D Animation Dfiiti Definition Texture Information
21
22 Generic System Input Devices Network MC = Model Coordinates SC = Screen Coordinates TC = Texture Coordinates CPU B u s MC Vertices TC Vertex Processor SC Vertices Pixel Parameters RGBA Texels Rasterizer Fragment Processor RGBAZ Pixels Variables to interpolate Interpolated variables Z-Buffer Front Back Video Driver Texture Memory Double-buffered Framebuffers
23 The Framebuffer Fragment Processor Z-Buffer Front Back Video Driver Double-buffered Framebuffers
24 The Framebuffer Uses Additive Colors (RGB) Red Yellow Red, Green, and Blue are provided. The rest are combinations of those three. Green Gee Magenta White Cyan Blue Cyan = Green + Blue Magenta = Red + Blue Yellow = Red + Green White = Red + Green + Blue
25 The Framebuffer: Integer Color Storage G B # Bits/color # Intensities per color = = = 4096 R # Bits/pixel Total colors: = 16.7 M =1 B = 69 B
26 The Framebuffer: Floating Point Color Storage 16- or 32-bit floating point for each color component B Why so much? R G Many modern algorithms do arithmetic on the framebuffer color components, or treat the framebuffer color components as data. They need the extra precision during the arithmetic. However, the display system cannot display all of those possible colors.
27 The Framebuffer Alpha values Transparency per pixel = 0. is invisible = 1i 1. is opaque Represented in 8-32 bits (integer or floating point) Alpha blending equation: Color C (1 ) C
28 The Framebuffer Z-buffer Used for hidden surface removal Z Holds pixel depth Typically 32 bits deep Integer or floating point B R G # Bits / Z Total Z Values: = 4 B
29 The Framebuffer Double-buffering: Don't let the viewer see any of the scene until the entire scene is drawn Update Front Back Refresh Video Driver Double-buffered Framebuffers swap buffers Update Back Front Refresh Video Driver Double-buffered Framebuffers
30 The Video Driver Z-Buffer Front Back Video Driver Double-buffered Framebuffers
31 The Video Driver N refreshes/second (N is usually between 50 and 100) Framebuffer contains the R,G,B, that define the color at each pixel Cursor - Appearance is stored near the video driver in a mini-framebuffer -x,y is given by the CPU Video input
32 The Monitor(s) Video Driver
33 Displaying Color on a LCD Monitor Grid of electrodes ec Color filters Source:
34 Displaying Color on a Plasma Monitor Gas cell Phosphor Grid of electrodes
35 Display Resolution Pixel resolutions (1280x1024, 1600x1200, 1920x1152 are common on the desktop) 4096 is 4096 x 2160 LG s new Ultra Widescreen is 3440 x 1440, 34 Human acuity: 1 arc-minute is achieved by viewing a 19" monitor with 1280x1024 resolution from a distance of ~40 inches
36 The Fragment Processor Rasterizer Fragment Processor Z-Buffer Texture Memory Double-buffered Framebuffers
37 The Fragment Processor Takes in all information that describes this pixel Produces the RGBA for that pixel s location in the framebuffer
38 The Rasterizer Vertex Processor Rasterizer Fragment Processor
39 Rasterization Turn screen space vertex coordinates into pixels that make up lines and polygons A great place for custom electronics Anti-aliasing is often built-in
40 Anti-aliasing is Implemented by Oversampling within Each Pixel No AA 4x 16x NVIDIA
41 Anti-aliasing is Implemented by Oversampling within Each Pixel 4x 16x NVIDIA
42 Rasterizers Can Interpolate: XandY Red-green-blue values Alpha values Z values Intensities Surface normals Texture coordinates Custom values given by the shaders
43 Texture Mapping B u s Fragment Processor Texture Memory
44 Texture Mapping Stretch an image onto a piece of geometry Image can be generated by a program or scanned in Useful for realistic scene generation
45 Something Cool: Write-Your-Own Fragment-Processor Code Rasterizer Fragment Processor Bump Mapping Z-Buffer Texture Memory Double-buffered Framebuffers Line Integral Convolution Referred to as: Pixel Shaders or Fragment Shaders
46 Procedural Texture Mapping Create a texture from data. In this case, the fragment g shader takes a grid of heights and produces surface normals for lighting. While this is procedural, the amount of height data is finite, so you can still run out of resolution
47 Procedural Texture Mapping Mandelzoom : In this case, the texture is a pure equation, so you never run out of resolution.
48 Procedural Texture Mapping Mandelzoom : You can, however, run out of floating point precision:
49 Procedural Texture Mapping And, of course, once you have an equation, think of all the other things you can do with it. Josie Hunter
50 The Vertex Processor CPU B u s Vertex Processor Rasterizer
51 Vertex Processor Coordinates enter in model units Coordinates leave in screen (pixel) units Another great place for custom electronics
52 Vertex Processor: Transformations Used to correctly place objects in the scene Translation Rotation Scaling
53 Vertex Processor: Windowing and Clipping Declare which portion of the 3D universe you are interested in viewing This is called the view volume Clip away everything that is outside the viewing volume
54 Vertex Processor: Projection Turn 3D coordinates into 2D Parallel projection Parallel lines remain parallel vanishing point Perspective projection Some parallel lines appear to converge
55 Vertex Processor: Projection Parallel Perspective
56 Something Cool: Write-Your-Own Vertex Code CPU B u s Vertex Processor Rasterizer Wireframe Teapot Dome Projection Referred to as: Vertex Shaders Mars Panorama Dome Projection
57 The CPU and Bus Input Devices Network CPU B u s Vertex Processor Type of Board Speed to Board Speed from Board PCI 132 Mb/sec 132 Mb/sec AGP 8X 2Gb/ Gb/sec 264 Mb/sec PCI Express 4 Gb/sec 4 Gb/sec
58 All Together Now! Input Devices Network MC = Model Coordinates SC = Screen Coordinates TC = Texture Coordinates CPU B u s MC Vertices TC Vertex Processor SC Vertices Pixel Parameters RGBA Texels Rasterizer Variables Variables Fragment Processor RGBAZ Pixels Z-Buffer Front Back Video Driver Texture Memory Double-buffered Framebuffers
59
60 What is a Model? A is a model of B if A can be used to ask questions about B. In computer graphics applications, what do we want to ask about B? What does B look like? How do I want to interact with (shape) B? Does B need to be a legal solid? How does B interact with its environment? What is B s surface area and volume? These questions, and answers, control what type of geometric ti modeling dli you need to do
61 Explicitly Listing Geometry and Topology M d l can consist i t off th d off vertices ti d ffaces we need d Models thousands and some way to list them efficiently
62 Explicitly Listing Geometry and Topology static ti GLfloat CubeColors[ C [ ][3] = { { 0., 0., 0. }, { 1., 0., 0. }, {0 0., 1., 0. }, { 1., 1., 0. }, { 0., 0., 1. }, { 1., 0., 1. }, {0 0., 1., 1. }, { 1., 1., 1. }, }; static GLfloat CubeVertices[ ][3] = { { -1., -1., -1. }, { 1., -1., -1. }, { -1., 1., -1. }, { 1., 1., -1. }, { -1., -1., 1. }, { 1., -1., 1. }, { -1., 1., 1. }, { 1., 1., 1. } }; static GLuint CubeIndices[ ][4] = { { 0, 2, 3, 1 }, {4 4, 5, 7, 6} }, { 1, 3, 7, 5 }, { 0, 4, 6, 2 }, { 2, 6, 7, 3 }, {0 0, 1, 5, 4} };
63 Cube Example
64 Solid Modeling Using Boolean Operators Two Overlapping Solids Union Intersection Difference
65 Curve Sculpting Bezier Curve Sculpting P 1 P 2 1 P 0 P Pt ( ) (1 t ) P0 3 t (1 t ) P1 3 t (1 tp ) 2 tp3 0. t 1.
66 Curve Sculpting Bezier Curve Sculpting Example
67 Curve Sculpting Bezier Curve Sculpting Example
68 Surface Sculpting Wireframe Surface
69 Surface Equations can also be used for Analysis With Contour Lines Showing Curvature
70 Volume Sculpting Sederberg and Parry
71
72 Rendering Rendering is the process of creating an image of a geometric model. Again, there are questions you need to ask: How realistic do I want this image to be? How much compute time do I have to create this image? Do I need to take into account lighting? g Does the illumination need to be global or will local do? Do I need to take into account shadows? Do I need to take into account reflection and refraction?
73 Fundamentals of Lighting L R L G L B White Light What the light can produce E R E G E B What the eye sees M R M G M B What the material can reflect Green Light E R E G E B = L R * M R = L G * M G = L B * M B
74 The Lighting Environment n R I L E P P I L n R E Point being illuminated Light intensity Unit vector from point to light Unit vector surface normal Perfect reflection unit vector Unit vector to eye position
75 Three Elements of Lighting 1. Ambient = a constant Accounts for light bouncing everywhere 2. Diffuse = I*cosΘ Accounts for the angle between the incoming light and the surface normal 3. Specular = I*cos S Accounts for the angle between the perfect reflector and the eye; also the exponent, S, accounts for surface shininess Note that cosθ is just the dot product between unit vectors L and n Note that cos is just the dot product between unit vectors R and E
76 Ambient + Three Elements of Lighting Diffuse + Specular =
77 Lighting Examples Spot Lights Omnidirectional Point Light at the Eye
78 Two Types of Rendering 1. Starts at the object 2. Starts at the eye
79 Starts at the Object This is the typical kind of rendering you get on a graphics card. Start with the geometry and project it onto the pixels.
80 How do things in front look like they are really in front? Your application might draw the polygons in order, but 1, 3, and 4 still need to look like they were drawn last: Either the polygons need to be re-arranged to be drawn in a back-to-front order, or we need to have a Z-buffer
81 Another From-the-Object Method -- Radiosity Based on the idea that all surfaces gather light intensity from all other surfaces The fundamental radiosity it equation is an energy balance that says: The light energy leaving surface i equals the amount of light energy generated by surface i plus surface i s reflectivity times the amount of light energy arriving from all other surfaces BA EA B AF i i i i i j j j i j
82 B i The Radiosity Equation B A E A B A F i i i i i j j j i j is the light energy intensity shining from surface element i A is the area of surface element i A i E i i is the internally-generated light energy intensity for surface element i is surface element i s reflectivity Fj i is referred to as the Form Factor, or Shape Factor, and describes what percent of the energy leaving surface element j that arrives at surface element i
83 The Radiosity Shape Factor cos cos F visibility( di, dj) da da i j j i 2 j i Dist( di, dj) Ai A j
84 The Radiosity Matrix Equation Expand B A E A B A F i i i i i j j j i j For each surface element, and re-arrange to solve for the surface intensities, the B s: 1 1F1 1 1F1 2 1F1 N B1 E1 2F F2 2 2F 2 N B 2 E 2 NFN 1 NFN 2 1 NFN N BN EN This is a lot of equations!
85 Radiosity Examples Cornell University Cornell University
86 Starts at the Eye The most common approach in this category is ray-tracing: Splat! The pixel is painted the color of the nearest object that is hit.
87 Starts at the Eye It s also easy to see if this point lies in a shadow: Fire another ray towards each light source. If the ray hits anything, then the point does not receive that light.
88 Starts at the Eye It s also easy to handle reflection normal Fire another ray that represents the bounce from the reflection. Paint the pixel the color that this ray sees.
89 Starts at the Eye It s also easy to handle refraction normal Fire another ray that represents the bend from the refraction. Paint the pixel the color that this ray sees.
90 Ray Tracing Examples
91
92 Forward Kinematics: Change Parameters Things Move (All Children Understand This) 3 2 1
93 Forward Kinematics: Transformation Hierarchies Locations? Ground
94 Inverse Kinematics (IK): Things Need to Move What Parameters Will Make Them Do That?
95 Inverse Kinematics Forward Kinematics solves the problem if I know the link transformation parameters, where are the links?. Inverse Kinematics (IK) solves the problem If I know where I want the end of the chain to be (X*,Y*), what transformation parameters will put it there? 3? (X*,Y*) 2? 1? Ground
96 Particle Systems: A Cross Between Modeling and Animation?
97 Particle Systems: A Cross Between Modeling and Animation? The basic process is: Emit Random Number Generator Display Display Update
98 Particle Systems Examples Chuck Evans
99 Animating using Physics D D 0 D-D 0 D 0 = unloaded spring length ( D D ) 0 F k k = spring stiffness in Newtons/meter or pounds/inch Force = F Or, if you know the displacement, the force exerted by the spring is: F k D D 0 This is known as Hooke s law
100 Animating using the Physics of a Mesh of Springs +Y Lumped Masses
101 Simulating a Bouncy String
102 Placing a Physical Barrier in the Scene
103 Animating Cloth
104 Cloth Examples
105 Cloth Examples David Breen, Donald House, Michael Wozny: Predicting the Drape of Woven Cloth Using Interacting Particles
106 Cloth Examples MiraLab, University of Geneva
107 Functional Animation: Make the Object Want to Move Towards a Goal Position k c m mx cx kx 0
108 Functional Animation: While Making it Want to Move Away from all other Objects mx F repulsive Repulsion Coefficient F repulsive C d repulse Power Distance between the boundaries of the 2 bodies Repulsion Exponent m
109 Total Goal Make the Free Body Move Towards its Final Position While Being Repelled by the Other Bodies k c m mx cx kx F
110 Increasing the Stiffness Stiffness = 3, 6, 9
111 Increasing the Repulsion Coefficient Repulse = 10, 30, 50
112 NaturalPoint Motion Capture as an Input for Animation Polhemus Polhemus MocapLab
113
On the conference DVDs. At the SIGGRAPH Education web site:
Mike Bailey mjb@cs.oregonstate.edu Seminar Goals Provide a background for everything else you will see at SIGGRAPH 2012 Create a common understanding of computer graphics vocabulary Help appreciate the
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